Key Points: Relationship is often the number two thing in a book. Often the main plot, the driver, is another elemental genre, but relationship adds, either throughout the book or in smaller sections. Relationship often helps make a main character more sympathetic. How do you add relationship without letting it take over? What's the driver? Use that to push evolution in the relationship, without making relationship the main problem. Think about where you spend your words -- the problem with the most words is the most important one! Often there are true hybrids. Often just use relationship as a seasoning, with moments where characters stand in support of each other, or reveal a shared history. Suggest a relationship, and let the reader tell their own story about it. Subplots need to evolve, with the reader interested in how it is going to develop. Seasoning can be fine, too.
( Who"s driving, anyway?Collapse )
[Brandon] We are out of time. I want to give us some homework. My suggestion to you for homework is that two weeks ago, if you did what Dan told you, you took a romantic comedy and you highlighted the beats of this romantic comedy. I want you to take that outline that you've done, and if you didn't do it, go do it. I want you to change it into a different kind of relationship. I want you to take these same beats and say, "All right. Now it's mentor student. And I'm going to build the same story around this, but with this very different relationship." Or I'm going to be buddy cop, or I'm going to be mother-daughter, or I'm going to be whatever. Take this, take the same beats, and transition it to a new type of relationship.
[Howard] So you take the beat map from While You Were Sleeping and write Lethal Weapon with it.
[Brandon] That's right. This has been Writing Excuses. You're out of excuses, now go write.